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Disorienting Encounters Re-Reading Seventeenth UvA-DARE (Digital Academic Repository) Disorienting encounters : re-reading seventeenth and eighteenth century Ottoman miniature paintings = Desoriënterende ontmoetingen : een herlezing van zeventiende- en achttiende-eeuwse Ottomaanse miniaturen Firat, B.O. Publication date 2008 Document Version Final published version Link to publication Citation for published version (APA): Firat, B. O. (2008). Disorienting encounters : re-reading seventeenth and eighteenth century Ottoman miniature paintings = Desoriënterende ontmoetingen : een herlezing van zeventiende- en achttiende-eeuwse Ottomaanse miniaturen. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:03 Oct 2021 Disorienting Encounters Re-reading Seventeenth and Eighteenth Century Ottoman Miniature Paintings. Desoriënterende Ontmoetingen Een herlezing van zeventiende- en achttiende- eeuwse Ottomaanse miniaturen ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op dinsdag 11 november 2008, te 12.00 uur door Begüm Özden Firat geboren te Düzce, Turkije Promotor: prof. dr. M.G. Bal Copromotor: dr. A.J.S. Grootenboer Faculteit: Faculteit der Geesteswetenschappen CONTENTS LIST OF FIGURES I INTRODUCTION 1 MINIATURE HISTORY 6 MINIATURES AS THEORETICAL OBJECTS 11 DISORIENTING ENCOUNTERS 15 FROM THE DETAIL TO THE THRESHOLD: THE CONTENTS OF THIS STUDY 17 CHAPTER 1: READING IN DETAIL: ADAM AND EVE IN CLOSE-UP 23 WHAT IS A DETAIL AND WHERE DOES ONE FIND IT? 25 MAKING UP STORIES: IN AND OUT OF THE IMAGE 30 ICONOGRAPHIC ANALYSIS 37 PREFIGURING THE MINIATURE 40 FALLING UPSIDE DOWN 44 THE NEW EVE 52 CHAPTER 2: THE INTIMATE LOOK: SEEING, TOUCHING, AND GAZING AT THE FEMALE BODY 59 THE FALL FROM THE BOOK: THE WOMAN IN THE HAMAM 61 THE RETURN OF THE EVERYDAY: PUTTING THE WOMAN IN THE PICTURE 66 THE SULTAN’S SOUVENIR 71 FROM THE ORIENTALIST GAZE … 73 … TO THE INTIMATE LOOK 79 NAKED INTIMACY 84 REDEFINING THE INTIMATE 91 CHAPTER 3: DOUBLE ENCOUNTERS: THE CIRCUMCISION PARADE IN INTERVALS 99 VISUALIZING AN IMPERIAL FESTIVAL 102 THE SULTAN’S PROCESSION IN TWO TAKES 109 THE STILL 121 THE OUT-OF-FIELD: EXPANDING SPACE AND TIME 127 THE INTERVAL: PUTTING THE STILLS IN MOTION 133 THE IMPERIAL VISION 140 ENACTING THE LOOP 144 CHAPTER 4: PORTRAIT OF A SULTAN: ORNAMENTATION AT WORK 149 SULTAN AHMED III ENTHRONED 153 PARERGON: ORNAMENTED SURFACES 157 OF OTHER SPACES 164 TRAPPED ON THE SURFACE 169 THE TRUTH OF THE PORTRAIT 172 THE AURATIC SHIELD 181 CHAPTER 5: THE MINIATURE, THE HORIZONTAL, AND THE SYMPTOM 187 OPENING THE BOOK 188 THE MINIATURE AND THE TABLEAU 194 DOES SIZE REALLY MATTER? 197 LOOKING AT THE BOOK 201 THE HORIZONTAL IMAGE 203 HORIZONTAL VIEWING 207 PREGNANT TO “A NEXUS OF NEW TEMPORALITIES” 210 WHAT IS BEING HANDED TO TIMUR, OR THE SYMPTOM 217 CHAPTER 6: LOOKING THROUGH METAPHORS: FROM THE WINDOW TOWARD THE THRESHOLD 221 IN GAZANFER AĞA’S SCHOOL 223 THE WINDOW EFFECT 228 THE THRESHOLD 235 THE FRAME AS A THRESHOLD 240 THRESHOLDING THE VISUAL 244 DWELLING AT THE THRESHOLD 254 EPILOGUE OR THE AFTERLIFE 257 BIBLIOGRAPHY 263 SUMMARY 283 SAMENVATTING 289 LIST OF FIGURES FIGURE 1. “THE STABLEMAN” HÜMÂYUNNÂME, UNDATED, ARTIST UNKNOWN, TOPKAPI MUSEUM, (R. 843, F. 136B). 3 FIGURE 2. DETAIL, “THE STABLEMAN.” 4 FIGURE 3. “EXPULSION OF ADAM AND EVE,” FALNAME, ARTIST UNKNOWN, 1614–16, TOPKAPI MUSEUM, (H. 1703, F. 7B). 31 FIGURE 4. “EXPULSION OF ADAM AND EVE,” HADIQAT AL SU’ADA’, ARTIST UNKNOWN, SEVENTEETH CENTURY, TURKISH AND ISLAMIC ARTS MUSEUM, (1967, F.8A). 43 FIGURE 5. “EXPULSION OF ADAM AND EVE,” HADIQAT AL SU’ADA’, ARTIST UNKNOWN, SEVENTEETH CENTURY, BRITISH LIBRARY, (OR. 12009, F. 7V). 43 FIGURE 6. DETAIL, “ADAM AND EVE.” 46 FIGURE 7. DETAIL, “ADAM AND EVE.” 47 FIGURE 8. .DETAIL, “ADAM AND EVE.” 49 FIGURE 9. DETAIL, “ADAM AND EVE.” 51 FIGURE 10. WOMAN BATHING IN THE HAMAM, ABDULLAH BUHARÎ, 1741-2, SINGLE-LEAF MINIATURE, TOPKAPI MUSEUM, (H.Y.Y. 1043). 63 FIGURE 11.THE ADDRESS BOOK 71 FIGURE 12. THE END OF THE PROCESSION OF THE SULTAN, SÛRNAME-I VEHBI, LEVNÎ, 1727/8- 1732, TOPKAPI MUSEUM, (A. 3593, F. 16A-15B). 112-113 FIGURE 13. THE MIDDLE OF THE PROCESSION OF THE SULTAN, SÛRNAME-I VEHBI, LEVNÎ, 1727/8- 1732, TOPKAPI MUSEUM, (A. 3593, F. 15A -14B). 114-115 FIGURE 14. THE BEGINNING OF THE PROCESSION OF THE SULTAN, SÛRNAME-I VEHBI, LEVNÎ, 1727/8- 1732, TOPKAPI MUSEUM, (A. 3593, F. 14A-13B). 116-117 FIGURE 15. “THE PROCESSION.” 119 FIGURE 16. DETAIL, SÛRNAME-I VEHBI, (F. 15B-15A). 126 FIGURE 17. DETAIL, SÛRNAME-I VEHBI, (F. 16A). 132 FIGURE 18 AND FIGURE 19. THE MINIATURE IN THE MIRROR, WAITING FOR HEAVEN. 145 FIGURE 20. THE CONVOY IN THE MIRRORS, WAITING FOR HEAVEN. 146 FIGURE 21. THE PORTRAIT OF SULTAN AHMED III, KEBIR MUSAVVER SILSILENÂME, LEVNÎ, CA. 1720, TOPKAPI MUSEUM, (A. 3109, F. 22V). 154 FIGURE 22. SULTAN SELIM I (GRIM), KEBIR MUSAVVER SILSILENÂME, F. 9B. 155 FIGURE 23. SULTAN SÜLEYMAN I (MAGNIFICENT), KEBIR MUSAVVER SILSILENÂME, F. 10A. 155 FIGURE 24. DETAIL, SULTAN AHMED III, GENEALOGICAL TREE, ARTISTS UNKNOWN, EIGHTEENTH CENTURY, OIL ON CANVAS, GRIPSHOLM CASTLE (GRH 227), SWEDEN. 164 i FIGURE 25. SNAPSHOT FROM THE EXHIBITION “LALE DEVRINE IKI ÖZGÜN BAKıS: LEVNÎ & VANMOUR.” 175 FIGURE 26. SULTAN AHMED III, JEAN BAPTISTE VANMOUR, 1703, OIL ON CANVAS, RIJKSMUSEUM, AMSTERDAM, 33.5X26.5. 177 FIGURE 27. “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN,” RAWDAT AL-SAFA, ARTIST UNKNOWN, 1599-1600, BRITISH LIBRARY, (OR. 5736; F. 232B). 190 FIGURE 28. DETAIL, “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN.” 193 FIGURE 29. DETAIL, “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN.” 213 FIGURE 30. DETAIL, “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN.” 214 FIGURE 31. DETAIL, “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN.” 215 FIGURE 32 AND FIGURE 33. DETAIL, “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN.” 216 FIGURE 34. DETAIL, “TIMUR ON HIS EXPEDITION TO ATTACK SULTAN HUSAYN.” 218 FIGURE 35. “GAZANFER AĞA MEDRESESI,” DIVAN-I NADIRI, AHMED NAKŞI, C.1620, TOPKAPI MUSEUM, (H. 899, F. 22A). 225 FIGURE 36. “THE STORY OF DANIEL,” ARTISTS UNKNOWN, LATE SIXTEENTH CENTURY, THE NETHERLANDS, TOPKAPI MUSEUM, (H. 2148, F. 13 B). 228 FIGURE 37. “THE HOUSE OF SHEYKH ÜL-ISLÂM MUSTAFA EFENDI,” DIVAN-I NADIRI, AHMED NAKŞI, C.1620, TOPKAPI MUSEUM, (H. 899, F. 18B). 237 ii introduction The man on the left points at the birds in the sky. He wears a special glove, a black one, of the sort used by keepers of wild birds. The man in the middle is about to shoot an arrow. The other hunter hangs onto the bridle of his horse with one hand while with the other he seems to make a gesture that remains obscure to us. Above the hill, in the sky, the birds go at each other in a spirited fray. Two appear to be fighting. Another, colorful bird carries something in his beak. Two gazelles watch the scene in the air behind the mountain. A few clouds, two of them painted in purple, hang in the sky—or on the empty page.1 This miniature visualizes the “Stableman” story. It recounts the tale of a king who decides to go hunting with his retinue. Having suspicions that his brother might kill him, the king asks the stableman to spy on the prince. The stableman agrees, but soon enough he reveals his mission to the prince. When the king dies and is succeeded by the prince, the stableman is condemned to death. When asked the reasons for his verdict, the new king explains that the stableman cannot be trusted, as he had given away the previous king’s secrets. The miniature depicts the king talking with his stableman while his other retainers hunt in the far distance. The artist’s placing of the figures outside the picture plane, on the margins of the page emphasizes the space between the conversing pair and the others. People familiar with the Ottoman literature of the era, or those who had been exposed to the tale through extratextual means, would recognize the story upon seeing certain pictorial elements and gestures—the hunting scene, the animated gestures between the figure wearing regal headgear and a man who looks like his servant, and so on. Other details, such as the gazelles, the black 1 This miniature is taken from Hümâyunnâme, an Ottoman translation of the Panchatantra or Kalila and Dimna—a collection of animal fables in verse and prose written originally in Sanskrit. The copy from which the miniature is taken from is undated, yet scholars attribute the book to the end of the sixteenth century. It contains 87 miniatures executed by numerous unknown artists. Each of these miniatures are placed around the handwritten script written by an unknown scribe.
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